Last year, we were approached to create our first permanent installation for the new museum of architecture of Hala Stulecia, in Wroclaw, Poland. The piece â€“ that we called O (Omicron), is actually the last part of the visit, and a way to create a link between the rich history of the building and the present times, by turning this massive concrete structure into a lively architecture.

When opened, Hala Stulecia was the largest reinforced concrete structure in the world. With a diameter of 65m it was home to the largest dome built since the Pantheon in Rome eighteen centuries earlier.
The Centennial Hall was listed as a UNESCO World Heritage Site in 2006.

It is reasonable to think that when Hala Stulecia was built in 1913 Max Bergâ€™s ambition for his construction was to pass the test of time. What could have been his vision of the monument in the distant future? How did he imagine the olding of the materials? The evolution of the surrounding urbanism and populations?

The piece proposed for the Centennial Hall of Wroclaw is based around the notion of timelessness in architecture, and the idea of what future has meant throughout the 20th century.

Taking the 1910â€™s as a starting point (the dome was erected in 1913), historical and artistic references were used to reveal the architecture of the space, its timeless and, more surprisingly, very modern dimension.

This building is called the Hala Stulecia (Centennial Hall); it’s a Max Berg structure, built when the German Empire was still owner of the city of WrocÅ‚aw. Â Here’s the structure in a way that makes us lighting designers more comfortable, with truss and chain motors in it:

This building is amazing:

When opened, Hala Stulecia was the largest reinforced concrete structure in the world. With a diameter of 65m it was home to the largest dome built since the Pantheon in Rome eighteen centuries earlier. The Centennial Hall was listed as a UNESCO World Heritage Site in 2006. Taking the 1910â€™s as a starting point (the dome was erected in 1913), historical and artistic references were used to reveal the architecture of the space, its timeless and, more surprisingly, very modern dimension.

A deliberately minimalist visual aesthetic allowed to highlight the very architecture of Hala Stuleciaâ€™s dome and re-affirm its place at the core of the piece.

I just discovered this video about the official beginning of construction ceremony of the new Filmmuseum in Amsterdam.Â The project won’t be completed until about 2011 (it’s officially the END of 2011).Â Theo Watson and Wieden+Kennedy Amsterdam produced a beautiful projection surface of sorts – it’s a 3D sculpture built completely of sand, around five meters by six meters (so approximately 16 feet by 19 feet).

There’s an article on Live Design Online about teaching the magic of entertainment design; in this case, projection design.Â I am also a college professor, albeit taking a break to get back into full-time production design, but this is a subject that always comes up among those of us who enjoy teaching and seeing the student “get it.”